[NetBehaviour] subobjects

[Alan Sondheim]

http://www.alansondheim.org/subobject.png

subobjects

== suicide can only be null== there's nothing to specify the
existence of a consciousness== the only permitted operations are
quantal== quanta are always already== within the swollen
fecundity of creation== gaps to be filled by categorical
dynamics== creation is always a relation== mathematics always
already an annihilation== thought's movements construe
sensations of pain and pleasure== suicide can only be
universal== when i look around, they look around== when they
look around, i look around== momentary displeasure as something
falters within not me== sedimentations of categories, i'm piled
up within== internal buffeting, syzygy, external holes== all
holes are external== all holes are w/holes== swallow yourself,
deny yourself, kill yourself== yourself are yourselves,
multitudes, interminable continuums== strations which collapse
your mouth== your mouthmouth your mouthmouthmouth== universal
suicide of the world== garnered scorched syzygial uncomfortable
quiescence of the planet== co-lapse==

v suicide sedimentation aa there exists Y w x does not exist
rigid | -y -v 0 *

v the specify to nothing there's null== be only can suicide ==
aa ==> <== there exists Y w x limp rigid & | -y -v U 0 1 *
swollen engorged are operations permitted only the
consciousness== a of existence aa ==> there exists Y w x y does
not exist rigid & | -y -v U 0 1 * swollen engorged swollen the
within already== always are quanta quantal== aa ==> there exists
Y w x x | * -y -v U 0 * swollen engorged categorical by filled
be to gaps creation== of fecundity aa ==> <== there exists Y w x
limp rigid & | -y -v U 0 1 * swollen always mathematics
relation== a always is creation dynamics== aa ==> there exists Y
w x does not exist rigid * -y -v U 0 * swollen engorged construe
movements thought's annihilation== an already aa zz ==> <==
there exists Y w x does not exist rigid | -y -v U 0 * swollen
engorged be only can suicide pleasure== and pain of sensations
aa ==> there exists Y w x limp rigid & | -y -v U 0 1 * swollen
they when around== look they around, look i when universal== aa
zz ==> <==> there exists Y w x | * -y -v U 0 * swollen engorged
something as displeasure momentary around== look i around, look
aa ==> <== <==> there exists Y w x does not exist & | -y -v U 0
* swollen engorged piled i'm categories, of sedimentations me==
not within falters aa <== there exists Y w x does not exist
rigid & * -y -v U 0 1 * swollen engorged all holes== external
syzygy, buffeting, internal within== up aa ==> <== for all X
there exists Y x y limp & | * -y -v U 0 1 * swollen engorged
yourself, swallow w/holes== are holes all external== are holes
aa ==> there exists Y x y | * -v U 0 1 * swollen engorged
yourselves, are yourself yourself== kill yourself, deny aa zz
==> <==> there exists Y w x | -y -v U 0 1 swollen collapse which
strations continuums== interminable multitudes, aa there exists
Y w x does not exist limp rigid & | * -y -v U 0 * swollen
engorged universal mouthmouthmouth== your mouthmouth your
mouth== your aa zz ==> there exists Y x does not exist | -y -v U
0 * swollen engorged uncomfortable syzygial scorched garnered
world== the of suicide aa ==> <== for all X there exists Y w x
does not exist limp rigid | * -y -v U 0 1 * swollen engorged
suicide v == == co-lapse== planet== the of quiescence aa zz
there exists Y w x x rigid & | -y -v U 0 1 * engorged -v -y |
rigid exist not does x w Y exists there aa sedimentation aa zz
==> <== there exists Y w x y does not exist * -y -v 0 * swollen
engorged suicide can only be null== there's nothing to specify
the v * 0 aa zz ==> <== there exists Y which pulls back w x limp
rigid & | -y -v U 0 1 * swollen engorged * 1 0 U -v -y | & rigid
limp x w Y exists there <== ==> aa == aa zz ==> <== which pulls
back w x y does not exist & * -y U 0 * swollen engorged the only
permitted operations are engorged swollen aa ==> <== there
exists Y w x does not exist & * -y -v U 0 * swollen engorged
does y x w Y exists there ==> aa existence of a consciousness==
aa ==> there exists Y w x y rigid | * -y -v 0 1 * swollen
engorged the swollen engorged swollen * 1 0 U -v -y | & rigid
exist not aa zz ==> <== there exists Y which pulls back w y * -y
-v U 0 * swollen engorged exists there ==> aa quantal== quanta
are always already== within aa ==> there exists Y w x y x | * -y
U 0 * swollen engorged filled by categorical engorged swollen *
0 U -v -y * | x x w Y aa zz ==> <== there exists Y which pulls
back w x y limp rigid * -y -v U 0 1 * swollen x w Y exists there
<== ==> aa fecundity of creation== gaps to be aa ==> <== there
exists Y w x y limp rigid & | * -y -v 0 1 * swollen engorged
mathematics always swollen * 1 0 U -v -y | & rigid limp aa zz
==> <== there exists Y which pulls back w x does not exist rigid
& * -y -v U 0 * swollen engorged Y exists there ==> aa
dynamics== creation is always a relation== aa ==> there exists Y
w x y does not exist rigid * -y -v U 0 * swollen 

[NetBehaviour] Covert Operations

[{ brad brace }]

A multi-layered expression, "entre chien et loup" is used to describe a specific
time of day, just before night, when the light is so dim one cannot distinguish 
a
dog from a wolf. It expresses an uncertain threshold between hope and fear, 
between
the familiar and comfortable and the unknown and dangerous.

http://www.bbrace.net/sobeit.html
http://www.bradbrace.net/sobeit.html


/:b

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[NetBehaviour] Paean, Elegy, Pulse

[Alan Sondheim]

Paean, Elegy, Pulse

http://www.alansondheim.org/forall.jpg
http://www.alansondheim.org/paeanforall.mp3
http://www.alansondheim.org/elegyforall.mp3
http://www.alansondheim.org/pulseforall.mp3

(attributed to Larsen Brothers) parlor guitar
Guitar was my first instrument, and to this day I return to the
instrument, constantly practicing, working on technique and
scale, exercising left and right hand finger (nails, no picks),
pushing the boundaries as much as possible, keeping the braid of
the piece in site/sight. The three pieces are very different;
paean extends my playing in new directions, elegy uses the
Japanese in scale always yearning for resolution, and pulse uses
a 'clunky' bass line extended and collapsed more or less
rhythmically. This is the best playing I'm capable of, recorded
last night between four and five a.m.; music called. When I can
play like this, I'm happy; if you listen, I'm happier, since
music, my music at least, calls for communality. Paean, Elegy,
and Pulse, are public pieces; they were recorded in this order
in the dead of night. For Azure and Ossi and You.

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[NetBehaviour] Fwd: Critique of the Hermetic Contemporary Arts Discourse--Interview with Merijn Oudenampsen

[Annie Abrahams]

a very interesting read on the art discourse  and it's relation to theory

-- Forwarded message --
From: Geert Lovink 
Date: Sat, Feb 27, 2016 at 10:44 AM
Subject:  Critique of the Hermetic Contemporary Arts
Discourse--Interview with Merijn Oudenampsen
To: a moderated mailing list for net criticism 



Critique of the Hermetic Contemporary Arts Discourse
Interview with Merijn Oudenampsen
By Geert Lovink

The Dutch sociologist and activist Merijn Oudenampsen recently published an
essay about the “incomprehensible art discourse.” It was Mieke Gerritzen,
director of the Museum of the Image in Breda who pointed me to the piece,
written in Dutch. The essay was published in the literary magazine De Gids
(2015/5, pp. 6-9).

I was surprised to see someone raising this often heard critique in public.
It needs some civil encouragement to address this somewhat taboo topic as
those who raise it are easily accused of anti-intellectualism and
considered not politically correct. Such critique is unlikely to emanate
from the Anglo-Saxon West; nor will it stem from France or Germany. There
is an additional risk factor as it can ruin one’s academic career, which so
often depends on nepotism and informal networks that were built up over
years.

The starting point for the article was a Dutch controversy over a Prix de
Rome exhibit (2013) where arts journalists complained about the
‘complexity’ of the chosen art works. Ernst-Jan Pfauth of the online daily
De Correspondent attacked the jargon used by the Amsterdam Stedelijk
Museum. This, in turn, prompted a critique of the populist attitude among
journalists. Every profession develops its obscure codes of expression.

In the anthology Spaces for Criticism (Valiz, 2015), Pascal Gielen and
Thijs Lijster at first attempt to defend the use of jargon in art
criticism. The difference, they write, in comparison to other professional
circles, is that art criticism takes place in public, and is meant for the
general audience. It is not happening behind closed doors. The writers note
that also art critics themselves start to have difficulties with jargon.
“Their jargon is becoming increasingly irrelevant, as it is simply
exchanged for a different jargon—that of philosophers and sociologists.”
Art criticism has been replaced by ‘art theory’ on the one hand and experts
that value the investment done by large institutional players and the
global elite on the other. Is this displacement just a matter of a sector
in demise or does this also give us renewed opportunities for
experimentation and dissent?

Merijn Oudenampsen’s thesis in De Gids is that the two Dutch attitudes,
anti-intellectualism and the dominant theory jargon, are two sides of the
same coin. The wide-spread desire to experience art works in an unmediated
fashion goes hand in hand with calls from the ministry of culture and the
gallery market to remain competitive in the global market. This
‘sophistication’ can only be reached, and maintained, if works can be
contextualized through international discourses, in English. Oudenampsen
himself often refers to the writings of art sociologist Pierre Bourdieu and
has already discussed this thesis before in Open! (
http://www.onlineopen.org/lost-in-translation).

Geert Lovink (GL): You are currently wrapping up your PhD research at the
University of Tilburg (NL), which deals with the rise of populism and the
rise of rightwing nationalism in the Netherlands and beyond. You have also
critizised the still popular ‘shockblog’ wwwgeenstijl.nl. Is it because of
your familiarity with right wing pop culture in the age of the internet
that you ‘dare’ to raise this sensitive issue?

Merijn Oudenampsen (MO): What prompted my intervention is a funny
combination of familiarity with and estrangement from the worlds of art and
theory. Seven years ago, I was a guest researcher at the Jan van Eyck
Academy in Maastricht, an art academy that hosted an important department
of radical theorists at the time. Now Dutch society in general – and the
art world in particular – is traditionally hostile to theorizing. So it
took me some time to come to terms with the phenomenon: why all this high
theory in an art academy? I had been trained as a sociologist and had my
praxis, so to say, as a political activist in the alter-globalisation
movement. Sociologists and activists share a very functionalist perspective
on the world. You’re accustomed to judging things as an instrument of
social change, or as a functional element in the social structure. And, of
course, Dutch culture is very practical as well. What added to my
estrangement is that it was mostly radical philosophy being discussed:
Rancière, Zizek, Badiou, Butler and so on. Much to my confusion, there
seemed to be no praxis in sight at all. Worse, any attempt at application
was seen as an insult to theory. I remember quite vividly a lecture on the
work of Toni Negri and Italian Autonomous Marxism.